familydinner_dedit

ISSUE Magazine: July 2014 – Family Dinner by Alexa Mardon

Family Dinner
By: Alexa Mardon

Nestled in a cluster of trees on the edge of Kits beach and the cusp of Vanier park, the Hadden Park Field House at 1015 Maple Street is the current resident space of Vancouver artist collective Ten Fifteen Maple: Justine A. Chambers, Josh Hite, Rebecca Bayer, Billy Marchenski, and Kristen Roos. The former caretaker residence is a part of the Vancouver Parks Board’s Field House Residency program, launched in 2012, which provides artists/collectives with free studio space in exchange for community arts-based engagement. The Field House acts as the site for the collective’s often participatory research. As the group’s website explains, “Through sound, collective recordings, temporary installations, performances, screenings, workshops, conversations and dinners, the projects will be dedicated to the very means of engagement that happens between people and their particular surroundings” (tenfifteenmaple.org).

In early June, I’m invited to attend a participatory work by dance artist and Ten Fifteen Maple collective member Justine A. Chambers entitled “Family Dinner.” Family Dinner is described as “an immersive and intimate dining performance [where] guests join a very particular family dinner exploring the choreography of dining, etiquette and behavioural codes. Each dinner is at once a rehearsal, performance, embodied recording and a conversation with dinner guests” (tenfifteenmaple.org). Though the dinner I attended functioned as a dress rehearsal for the work proper, the performances are typically publicly accessible events, with the group accepting bookings for guests via the collective’s website.

On the Tuesday evening I arrived for dinner, the early summer sun had begun to sling low behind dwindling family barbeques. Distant tankers flashed in the light. Once through the chain-link gate and at the door I’m greeted with hugs and warm smiles by what Chambers affectionately calls the “Task Force,” a rotating group of some of Vancouver’s most sought-after dancers and performers; it’s a close group, including many people I’ve learned from, trained with, and admired in the city’s small dance community. It might have been relaxing, a nice moment to catch up with those who’d been out of town or busy, a rare opportunity for so many working artists to be in the same room. But I’d been invited to a performance, and I was suspicious. I immediately started sweating in my ill-chosen long sleeve shirt. In the cramped caretaker’s kitchen, where pasta noodles were sending up steam off the stove and the twelve bodies of guests and performers alike were packed tightly, I gratefully threw back the glass of cold white wine that was placed in my hand as my jacket and bag were whisked away from me.

Justine A. Chambers’ work typically deals with the movement language of gesture, and her attention to detail — the slightest angle of the chin, the initiation of a movement from this finger rather than that — is a signature of her practice. Having both danced in Chambers’ work as a student and seen her work performed by herself and by other interpreters, I am aware of her ability to apply the observation of her own and others’ habitual tendencies and to multiply them; to render them into a tight score and show them back to us. This looped replication, familiar yet grotesque, is often unsettling. It was this keenness of observation that I had in mind as I entered into the machinery of the choreography, the “embodied recording.”  My awareness was heightened accordingly throughout the evening.

We were ushered into the “dining room” by the performers: a large table set tastefully for twelve, small windows overlooking the seawall path, the spectacular sunset threatening.  Against the wall opposite the window, a smaller table acted as a buffet, our slow-baked tomatoes, pasta, and salad ready to be dished out by the few performers hovering over it. We were subtly arranged so that — as much as possible — each of the six guests sat between two performers. Justine, standing at the head of the table, asked one of the guests, on the side of the table opposite the buffet, to pass her the empty plate to her right. This seemed to be the formal signifier that the performance had begun. The plate made its way towards the serving table, was heaped with food, and was then passed clockwise between hands, all the way around the table, in an absurd display of hospitable excess, past its original position, to the guest on the left of first person who originally picked up the plate. The guests laughed, a little knowingly and nervously, and Justine smiled gracefully at us all. When, finally, the last plate had moved through twelve pairs of hands and is set down, performer Tiffany Tregarthen asked,
“Does anyone want to say grace?”
In the silence that followed, we all observed each other.
“Well, bon appetit!”

Marten Spangberg writes about a type of performance that calls for “a shift towards performance as an activity”, the poesis of the already-there. In an essay titled
Immaterial Performance,” Spangberg asks not what, but when, is the performance? Chambers’ Family Dinner is at once a revelation and an interrogation of the already-there. Rather than a production “without the possibility of essence,” Family Dinner is an experimentation wherein the body acts as imperfect recording device, the playback a magnification, rather than an unfolding of. At Family Dinner, a conversation with a dinner guest is the essence of the everyday, made bizarre by process of distillation.The performance is in fact derived from essence; of habit, of social cues, and the immense histories carried with each of us in our bodies.

Once we were settled; eating and chatting, it became apparent that the performers were adhering to a movement score, or a set of instructions previously “choreographed,” though those instructions took some time to make themselves explicit. The lighting in the room began to shift as well; a wall-mounted reading lamp would flick on or off, while the timbre of the overhead  lights would softly change. Conversations darted and buzzed between neighbours and the guests joked and remarked on these changes, making our awareness of the performance known.

Meanwhile, Chambers held court; she was a charming host with perfect comedic timing. Despite this, the room was charged with an energy similar to the uncomfortable and mysterious experience of having a conversation with somebody who keeps checking their watch. I would ask a question, contribute an anecdote, or listen to a story, but my involvement was checked, as if real time were suspended; each person, including the guests, was existing in a mental capacity outside of the room and the conversation itself. In the absence of a watch, the performers checked each other, their plates, Chambers, and, unsettlingly, us. It was hard not to notice the intricate web of signals whizzing across the table. The movement score surfaced in bursts; moments of unison would appear in an elbow on the table, or the perfectly timed thrust of three performers’ torsos backwards into their chairs as they laughed maniacally at another guest’s comment. Trying to carry on a conversation while watching them – and watching them watch each other – was both exhausting and exhilarating. It was akin to being let in on a juicy secret I couldn’t yet grasp the consequence of.

When performer Josh Martin, clearly visible at the head of the table opposite Chambers, began making a series of gestures, crossing his hands over his chest and pointing his fingers out like guns, making fists and then opening them, it was almost a relief. Dance! Movement! Here was something I could latch onto. For a moment, I could relax into watching. Aryo Khakpour and David Raymond joined him, and the three men casually continued on the conversations they’d already begun while completing their movement task.

Spangberg’s idea of immaterial performance describes a shift towards performance as an activity, an occasion in which performer and audience can merge into one entity, not through conventions of participation but through “charged interactions.” While the guests at this dinner were clearly not privy to the exact choreographic tasks at hand, we sat at the same table, interacting with the performers, cumulatively composing the performance “as activity, shared through multiplicities of relations, rather than performance as representation” (Spangberg 2).

After a time it became clear that the performers were lagging in finishing their meals. A perpetually fast eater, I drank the rest of my wine, and then drank my refill. When Tiffany Tregarthen and Alison Denham, both lithe, graceful and articulate women, leaned steeply over their plates in unison and began shoveling the remainder of the food into their mouths, my first instinct was to look away. Instead I watched closely as they both packed away half a plate of food in under ten seconds, smiling and commenting enthusiastically on their meals. Finally, the performers cleared our plates, and the guests were left alone for a moment. We all agreed we were bewildered, enthralled, and a little bit exhausted. Chambers and the performers re-entered with our dessert.

“Now I’m going to tell you what happened,” said Chambers.

Over the last year, and through a series of research and rehearsal periods both including and excluding “guests,” Chambers and the rest of the Task Force created an overarching movement score, which included such gestures as the hand pointing. Outside of the scored, set movement, dictated by both the lighting cues and a timer system on Chambers’ pocketed phone, to which she gave the group set cues, there was another, more complex and embodied score. From each of the now 100 or so guests that have dined with the Task Force, one gesture, habit, or tic is pulled. Together, the performers practice and perfect this guest’s gesture, adding it to the growing library of possible movements. Not only are those movements memorized and performed, they are the only movements allowed. There is a gesture for drinking your wine, as there is one for leaning on the table, as there is one for turning to the person to your right, as there is for wiping your mouth with your napkin. Each of these everyday and utilitarian movements is done as somebody else who has sat around that table. As Chambers explained, the performers are so deeply locked in the bodies of others, this cumulative body, that they are no longer free to perform any of what they might consider their own gestures or movements. After we would leave that evening, the performers would choose a gesture from each of the six of us, and add it to the blueprint for their dinner the following evening.

This relentless perpetuality recalls Delueze and Guattarri’s notion that the network of signs is infinitely circular — that  “The statement survives its object, the name survives its owner. Whether it passes into other signs or is kept in reserve for a time, the sign survives both its state of things and its signified; it leaps like an animal or a dead person to regain its place in the chain and invest a new state, a new signified, from which it will in turn extricate itself” (1000 Plateaus, 134). In the structure Chambers has built for an “embodied recording,” the personal is de-personalized, the materials for construction of identity are made open-source, and the singular is made communal. In this sense, Family Dinner is truly participatory at a level that performance working under this banner often fails to reach. The body of performer and guest surge forward into the work’s next iteration, yet the relationship between performer and participant is circular. The cumulative physical blueprint is the performers’ only entryway into interaction; the work exists at the precipice between what has been and what is. This immense potential for slippage both completes and ruptures the work’s self-imposed task of recording, opening it up to the possibility of entry, of charged interaction between performer and participant, between then and now.

While the identity of each participant becomes subsumed, mysterious and anonymous, it’s important to Chambers that the architecture of the evening not remain a mystery. As we sat, taking our time with dessert and chatting, guests and performers alike asked questions and batted around ideas about what we’d all just now been a part of.

At the time I attended the dinner, Chambers had recently gotten word that, along with this season’s Vancouver-based Dancing on the Edge Festival,  Family Dinner had been accepted for programming in both Ottawa’s Canada Dance Fest and Montreal’s OfFTA for the 2015 season. The importance of this work being considered “dance” is far-reaching. Chambers recalled an anecdote in which a previous dinner guest had been disappointed in the “lack of dance.” This particular guests’ codified expectations of a dance performance were not met at Family Dinner, and this rift allowed for an important interrogation of the medium’s definition. If you were to ask Justine A. Chambers where the dance is, she would invite you, graciously, to look around.

Choreography/Direction: Justine A. Chambers in collaboration with the performers
Performers (on the night the writer attended): Justine Chambers, Josh Martin, David Raymond, Tiffany Tregarthen, Aryo Khakpour, Alison Denham.
Lighting: James Proudfoot

8 DAYS IV – Appel à chorégraphes canadiens

PUBLIC RECORDINGS 8 DAYS IV : APPEL À PARTICIPANTS | DATE LIMITE : 1 DÉCEMBRE 2014 UN RASSEMBLEMENT DE CHORÉGRAPHES À ARTSCAPE GIBRALTAR POINT, TORONTO ISLAND 14 au 23 JUIN 2015
8 DAYS est une rencontre intensive ouverte à tous les chorégraphes canadiens. Le rassemblement propose la curiosité, le questionnement et la réflexion pour approfondir les pratiques chorégraphiques.

Le projet itératif 8 DAYS cible le besoin d’un perfectionnement chorégraphique d’égal à égal au Canada et soutient que la pertinence de la forme d’art en dépend. Mis sur pied en 2012 par Ame Henderson et Tedd Robinson, 8 DAYS IV est issu du désir des participants à poursuivre l’échange. Les codes d’une démarche artistique agissent intimement sur l’œuvre. Théorie et pratique, articulation et création, action et réflexion, et les systèmes desquels l’on dépend ou non s’entrecroisent autour du développement créatif. 8 DAYS est une occasion de contextualiser son travail, de partager les approches et les défis pour se provoquer, se revigorer et s’inspirer entre créateurs. L’événement se soustrait des impératifs de production. La rencontre crée un espace pour se pencher sur sa pratique et favoriser de nouvelles possibilités artistiques par l’expérimentation et le dialogue rigoureux.

À la suite d’un appel à participants, SIX chorégraphes canadiens œuvrant ici ou à l’étranger seront invités à se joindre aux 20 participants des trois éditions précédentes. Une cohorte de 26 artistes se réuniront pour une aventure cocréée, à l’écoute de son environnement, mise en œuvre par ceux présents et guidée par leurs expériences imbriquées et divergentes. Les artistes sont appelés à faire preuve d’ouverture quant à la forme et à la nature de l’événement, de volonté de partage et d’un esprit critique dans les échanges. Parce qu’il y a plus de participants d’année en année, nous demandons que tous soient disponibles à de nouvelles façons de se rencontrer. Le comité de sélection est composé de trois anciens participants et d’un invité.

Chaque chorégraphe est responsable d’une partie de la rencontre. Les journées sont principalement structurées autour des repas communs (préparation, consommation et ménage). Manifestation du travail collectif, les repas éclairent comment l’on peut fonctionner et se nourrir au sein d’un groupe. Les journées peuvent aussi compter le partage de recherche et l’échange de méthodes, la lecture, la discussion libre, ainsi que des temps de repos et de réflexion personnelle.

Il est impératif que 8 DAYS se mette en rapport avec la communauté élargie. À cette fin, on demande à chaque participant de répondre à l’idée de la documentation et à la nécessité de partager leur expérience. Jusqu’à maintenant, 8 DAYS a produit deux livrets financés par les contributions personnelles des participants. Chaque artiste propose et crée une réponse particulière à 8 DAYS pendant ou après sa conclusion. La documentation cosignée sera ensuite diffusée sur une plateforme choisie par les artistes afin de partager le processus et ses résultantes.
Logistique 8 DAYS IV se tiendra à Artscape Gibraltar Point à Toronto Island. L’ancienne école offre 35 000 pieds carrés d’espace à usage multiple. Les artistes profitent d’hébergement semi-privé, de grands studios clairs, d’une cuisine partagée, d’une salle de détente, d’un réseau wi-fi gratuit et d’un service de location de vélo. Le terrain idyllique au bord de l’eau donne l’impression d’une escapade dans un chalet, mais est à quinze minutes en traversier du centre- ville de Toronto.

Les artistes arriveront le dimanche 14 juin et partiront le mardi 23 juin 2015. Public Recordings dépose une demande de subvention pour payer le déplacement, l’hébergement et les repas. Les résultats de la demande devraient être connus à la fin mars 2014. Nous encourageons les participants à faire d’autres demandes de financement pour soutenir leur participation.

DATE LIMITE : 1 DÉCEMBRE 2014 Veuillez envoyer une lettre d’intérêt et une biographie récente ainsi que des extraits de votre travail pour contextualiser votre dossier. Il y a un nouveau comité de sélection chaque année et ainsi, les artistes ayant posé leur candidature pour une édition antérieure sont encouragés à le faire de nouveau. Dans la lettre, détaillez vos préoccupations chorégraphiques actuelles et précisez en quoi l’événement pourrait enrichir votre pratique. Que souhaitez-vous partager avec le groupe ? Quelle sorte d’activité aimeriez-vous diriger ? Soyez concis et ciblez vos documents d’appui dans l’optique précise de ce projet.

Nous acceptons les demandes en anglais et en français. Veuillez noter que la langue de travail sera surtout l’anglais. Envoyez votre dossier par voie électronique. Les documents d’appuis doivent être en pièces jointes ou disponibles en ligne. Le cas échéant, assurez-vous d’inclure les liens et les accès nécessaires pour les visionner. Veuillez noter que nous ne traiterons pas les demandes envoyées par la poste.
Pour plus d’information ou pour soumettre un dossier : eightdays (at) publicrecordings (dot) org  

Historique du projet 8 DAYS s’est déroulé à la B.A.R.N. à Lac Leslie dans la région du Pontiac au Québec du 16 au 24 juin 2012. 10 Gates Dancing Inc. et Public Recordings étaient hôtes et partenaires de la rencontre.
Comité de sélection : Sara Coffin, Ame Henderson, Tedd Robinson, Stephen Thompson
Participants : Justine A. Chambers, Claudia Fancello, Marie Claire Forté, Ame Henderson, Benjamin Kamino, Davida Monk, Tedd Robinson, Stephen Thompson, Michael Trent

8 DAYS II s’est déroulé à Ten Fifteen Maple et au Dance Centre à Vancouver du 10 au 18 août 2013. Justine A. Chambers et Public Recordings étaient hôtes de la rencontre, et les partenaires étaient le Conseil des Arts du Canada, Public Recordings, Ten Fifteen Maple et le Dance Centre.
Comité de sélection : Martin Bélanger, Justine A. Chambers, Benjamin Kamino, Davida Monk
Participants : Naomi Brand, Justine A. Chambers, Karine Denault, Claudia Fancello, Marie Claire Forté, Caroline Gravel, Ame Henderson, Christopher House, Davida Monk, Andrew Tay, Stephen Thompson, Michael Trent, Laurie Young

8 DAYS III s’est déroulé à Artscape Gibraltar Point du 16 au 24 juin 2014. Public Recordings était hôte de la rencontre, et les partenaires étaient le Conseil des arts du Canada, Artscape Gibraltar Point, Toronto Dance Theatre et 10 Gates Dancing Inc. Comité de sélection : Naomi Brand, Caroline Gravel, Robin Poitras, Laurie Young Participants : Martin Bélanger, Naomi Brand, Justine A. Chambers, Karine Denault, Claudia Fancello, Marie Claire Forté, Caroline Gravel, Ame Henderson, Christopher House, Benjamin Kamino, Jennifer Mascall, Freya Olafson, Bee Pallomina, Tedd Robinson, Andrew Tay, Stephen Thompson, Michael Trent, Peter Trosztmer, Katie Ward, Laurie Young

8 DAYS IV – Call to Canadian Choreographers (English)

PUBLIC RECORDINGS 8 DAYS IV: CALL FOR PARTICIPANTS | DEADLINE: DECEMBER 1st 2014 A GATHERING OF CHOREOGRAPHERS AT ARTSCAPE GIBRALTAR POINT, TORONTO ISLAND  JUNE 14-23, 2015
8 DAYS is an intensive encounter open to Canadian contemporary choreographers. The gathering values curiosity, questioning and reflection on how we work in order to deepen choreographic practices.

The ongoing 8 DAYS project addresses a need for peer-to-peer choreographic development in Canada, insisting that this mode is crucial to the continued relevance of the art form. Originally instigated in 2012 by Ame Henderson and Tedd Robinson, 8 DAYS IV stems from the desire to continue this artistic exchange. How dance artists work is intimately related to what they create. Theory and practice, talking and making, doing and reflecting, and the systems we do and don’t rely on are understood as interwoven threads of creative development. 8 DAYS is an opportunity to share artistic practices and concerns and to challenge, invigorate and inspire each other. This is an occasion to contextualize oneself within a larger frame. 8 DAYS escapes the pressures of production-driven work. It creates space to reflect on one’s current practice and through rigorous dialogue and experimentation encourages new artistic possibilities.

SIX Canadian choreographers working in Canada or abroad will be invited to join 20 past participants of the three previous 8 DAYS encounters. A cohort of 26 artists will embark on a co-authored adventure influenced by its surroundings, created by those present, and guided by their overlapping and divergent experience. Participants are asked to arrive with an openness about what this encounter can be, a willingness to expose and share, and a criticality around intellectual and artistic exchange. As the number of participants grows every year, we ask that everyone be open to new ways of being together in this ever-evolving constellation. The selection committee is comprised of three past participants and a guest.

Each participant is responsible for planning a portion of the time spent together. Days are primarily structured around preparing, cooking and facilitating group meals, which becomes a fundamental way of thinking about shared work. Subsistence informs how we can function within a group. The days also include sharing research and exploring methods, reading, open discussion, as well as time for leisure and personal reflection.

It is imperative that 8 DAYS engages with the community at large. To this end, each participant will be asked to respond to the concept of documentation in order to share the experience. So far 8 DAYS has self-produced two books financed by the personal contributions of the participants. Each artist proposes and creates responses specific to 8 DAYS during or immediately following the gathering. This co-authored documentation is then distributed via a framework determined by the contributors in order to share the process and its outcomes.

Logistical Details 8 DAYS will be held at Artscape Gibraltar Point on Toronto Island. Housed in a former school, Artscape Gibraltar Point, offers 35,000 square feet of multi-use space. Artists will enjoy semi-private accommodations, bright and spacious studios, a shared kitchen and lounge, free wi-fi, and bike rentals. This idyllic beachfront property has the feeling of a remote cottage getaway but is a short fifteen-minute ferry ride from downtown Toronto.  The participating artists will arrive on Sunday, June 14th, and depart Tuesday, June 23rd, 2015. Public Recordings has applied for funding to cover travel costs and meals. Funding results should be known by the end of March 2015. Applicants are encouraged to seek further funding to support their participation.

DEADLINE: DECEMBER 1st 2014
Please submit a letter of interest and a recent biography in addition to any work samples that are relevant to contextualize your application. As the jury changes each year, previous applicants are encouraged to reapply. Detail your current choreographic concerns in relation to the milieu, address how this encounter might enrich your practice and position yourself in regard to the documentation process. Propose an idea of what you would like to share with the group and what kind of activity you would like to facilitate. Please keep your responses brief and select any support material carefully with the aim of addressing this specific opportunity.

Applications can be submitted in English or French. Please note: the working language will be primarily English. All materials must be submitted electronically. Support materials must be included as an attachment or available online. Make sure to include all necessary links and access information. Please note, applications sent by mail cannot be processed.

For more information and to apply: eightdays (at) publicrecordings (dot) org 

Project History 8 DAYS was held at la B.A.R.N. on Lac Leslie in the Pontiac Region of Quebec, from June 16 – 24, 2012. It was hosted and supported by 10 Gates Dancing Inc. and Public Recordings. Selection committee: Sara Coffin, Ame Henderson, Tedd Robinson, Stephen Thompson  Participants: Justine A. Chambers, Claudia Fancello, Marie Claire Forté, Ame Henderson, Benjamin Kamino, Davida Monk, Tedd Robinson, Stephen Thompson, Michael Trent

8 DAYS II was held at ten fifteen maple and The Dance Centre from August 10-18, 2013. It was hosted by Justine A. Chambers and Public Recordings, and received support from the Canada Council for the Arts, Public Recordings, The Dance Centre and ten fifteen maple. Selection committee: Martin Bélanger, Justine A. Chambers, Benjamin Kamino, Davida Monk Participants: Naomi Brand, Justine A. Chambers, Karine Denault, Claudia Fancello, Marie Claire Forté, Caroline Gravel, Ame Henderson, Christopher House, Davida Monk, Andrew Tay, Stephen Thompson, Michael Trent, Laurie Young

8 DAYS III was held at Artscape Gibraltar Point from June 16-24, 2014. It was hosted by Public Recordings, and received support from the Canada Council for the Arts, Artscape Gibraltar Point, Toronto Dance Theatre and 10 Gates Dancing Inc. Selection committee: Naomi Brand, Caroline Gravel, Robin Poitras, Laurie Young Participants: Martin Bélanger, Naomi Brand, Justine A. Chambers, Karine Denault, Claudia Fancello, Marie Claire Forté, Caroline Gravel, Ame Henderson, Christopher House, Benjamin Kamino, Jennifer Mascall, Freya Olafson, Bee Pallomina, Tedd Robinson, Andrew Tay, Stephen Thompson, Michael Trent, Peter Trosztmer, Katie Ward, Laurie Young

Family Dinner thanks…

Family Dinner would like to acknowledge the support of:

The Canada Council for the Arts

British Columbia Arts Council

The Field House Residency Program

The Scotia Bank Dance Centre

Jeanne Holmes – curator  Dance in Vancouver

Mutable Subject

Olla Urban Flower Project

Without you, dinner wouldn’t have made it to the table.

Photo by Yvonne Chew

Photo by Yvonne Chew

Stack of Moves

Stack of Moves

Stack of Moves
Studies and experiments in movement, synchrony, exchange, and rhythm with Justine a. Chambers, Jen Weih and Kristina-Talisa Jaggard.
141 – 2050 Scotia Street ALLEY ACCESS – 8:30-10:00pm
Every Wednesday in April —same time/place.
We are asking 3-5$ to pay for the space.
no one turned away.

family dinner – the scripts

The scripts for the family dinner were generated by the performers. From the ‘blueprint’ video (a shared dinner in August 2013) each performer created a subjectively accurate ‘action script’ derived from the actions of another performer. This script was then passed to yet another performer to learn and execute.

Below are two of the scripts:

“Justine” – written by Aryo

Weight on left side of body (for 90% of the time), right hand on left thigh. Chew, listen. Gesture a veil on the face with right hand. Surprised look. Casually pop up a flowers with right hand. Listen, pay attention. A quick look at the plate in front of you. Listen. Pouch bottom lip quickly and laugh. Laugh more, fold body above the table; rest forehead on heels of hands and rest right elbow on table. Rest nose on right hand, left arm on lap. Open right hand away from face and bring it back under nose again. Under chin. Run both hands through hair (left hand higher). Rest right arm on table, left arm bent on left side of neck. Play with hair – slightly. Open -just- hands and rock them left to right eleven times – decreasing in tempo. Go back to right arm on table, left hand on neck. Show a little boy with left hand. Show a medium sized ball with both hands. Small direct continuous movements of both – just – hands: six of them. Open palms and “stop”, look to your right. Show the same ball again. Hold left hand and stretch right arm diagonally forward. Right arm on table, rest head on left hand’s index finger. Listen. Listen. Open left palm and stretch left arm away toward left. Meet both hands above your lap, and flick them away from each other. Listen (weight on left, right hand on left lap). Listen. Laugh. Go for the plate, elegantly pick a leaf and bite in half – elegantly. Put the other half back in plate, lick both of the fingers. Listen (weight on left…). Laugh, clap hands. Cover your face. Cover your nose. Drop your hands.

“Josh” written by Tiffany

filling the back of the chair, lean further looking behind Ail’s head to at Dave

lift right arm in a cast, hand relaxed, triple cookie dunk tilt

drop right hand back in lap and listen to dave for a sec

eyes glance down

lifting both hands above table left hand draws upside-down U poring small cup into open hand, eyes glance down just before two mouth stuffing hands fall to lap

tongue digs out of lower left molar while looking to Billy, tiny shoulder chuckle

left palm up frying pan shakes to lunch money hand at Billy

hand drops to lap

inhale sifting hoagie hands above table

right hand dunks while head does almost invisible little “no”s at Billy

slightly tensing shoulders and eyebrows upwards as the hoagie drops into mouth with left then right hand

big mouth to stomach swallow, hands fall to lap, now chest breathing more deeply from it all

in-socket eyes slip left and back to Billy

eyes slip right, head meets eyes, tongue digs our of lower left molar

quick head turn to Billy for a tiny shoulder chuckle

look down amused to try Billy’s double hand sewing snakes and look up to James, sewing a little longer before dropping hands to lap.

look at Jac, mini shoulder chuckle, look at James, mini shoulder chuckle, look at Jac, tongue goes to lower left molar and thinks about digging

eyes dip drift to Billy then back to Jac while mouth breaths in and hip bones shift slightly

look to Jac, inhale then exhale a nodding yes while dragging front teeth over bottom lip and eyes drop towing head low centre for a sharp left eyebrow stab up

eyes draw a quick n tiny rectangle

jaw shifts left then right pull shirt hem and let go

purse mouth corners looking down and into head thought small assuring nod yes to lift eyes to billy pursing mouth corners

drive gaze to Jac with a heavy forehead

teeth scrape bottom lip right bottom lip left

tongue digs out of lower left molar

tongue searches teeth yes nod twice looking down then back at Jac for more in mouth tongue searching

sharp head laugh retract back an inch

8 DAYS III – Call to Choreographers

PUBLIC RECORDINGS 8 DAYS III: CALL FOR PARTICIPANTS | DEADLINE JANUARY 15, 2014 A GATHERING OF CHOREOGRAPHERS AT ARTSCAPE GIBRALTAR POINT, TORONTO ISLAND JUNE 16-24, 2014

8 DAYS is an intensive encounter open to all Canadian choreographers. The gathering values curiosity, creative risk- taking and reflection with a fluidity around theory and practice in order to deepen choreographic work.

Selected by open call, six Canadian choreographers working in Canada or abroad will be invited to join past participants of the two previous 8 DAYS encounters. The selection committee is comprised of three past participants and a guest. Up to 20 artists will embark on a co-authored adventure influenced by its surroundings, created by those present, and guided by their overlapping and divergent experience. Participants are asked to arrive with an openness about what this encounter might be, a willingness to expose and share, and a rigour around intellectual and artistic exchange.

The ongoing 8 DAYS project addresses a need for peer-to-peer choreographic development in Canada, insisting that this mode is crucial to the continued relevance of the art form. Instigated in 2012 by Ame Henderson and Tedd Robinson, the subsequent encounters stem from the 8 DAYS and 8 DAYS II participants’ desire to continue this artistic exchange. How dance artists work is intimately related to what they create. Theory and practice, talking and making, doing and reflecting, and the systems we do and don’t rely on are understood as interwoven threads of creative development. 8 DAYS is an opportunity to collide practices to provoke, invigorate and inspire each other. 8 DAYS escapes the pressures of production-driven work to create space to reflect on one’s current practice and to envision – through dialogue and experimentation – new artistic possibilities.

Each participant is responsible for facilitating or planning a portion of the shared time. Days are primarily structured around group meals and also include sharing and exploring work and methods, reading, open discussion, as well as time for leisure and personal reflection.

It is imperative that 8 DAYS engages with the community at large. To this end, each participant will be asked to respond to the concept of documentation in order to share the experience. Participants propose and create responses specific to 8 DAYS during or immediately following the gathering. This co-authored documentation is then disseminated via a framework determined by the contributors in order to share the process and its outcomes. Logistical Details 8 DAYS will be held at Artscape Gibraltar Point on Toronto Island. Housed in a former school, Artscape Gibraltar Point, offers 35,000 square feet of multi-use space. Artists will enjoy private accommodations, bright and spacious studios, a shared kitchen and lounge, free wi-fi, and bike rentals. This idyllic beachfront property has the feeling of a remote cottage getaway but is a short fifteen-minute ferry ride from downtown Toronto. The participating artists will arrive on Monday, June 16th, and depart Tuesday, June 24th, 2014. Public Recordings has applied for funding to cover travel costs and meals. Funding results should be known by the end of March 2014. Participants are encouraged to seek further funding to support their participation.

DEADLINE: Jan 15, 2014 Please submit a letter of interest and recent biography in addition to any work samples that are relevant to contextualize your application. Previous applicants are encouraged to reapply. Detail your current choreographic concerns, address how this encounter might enrich your practice and position yourself in regard to the documentation process. Please keep your responses brief and select any support material carefully with the aim of addressing this specific opportunity.

Applications can be submitted in English or French. Please note: the working language will be primarily English. All materials must be submitted electronically. Support materials must be included as an attachment or available online. Make sure to include all necessary links and access information. Please note, applications sent by mail cannot be processed. For more information and to apply: eightdays (at) publicrecordings (dot) org

Project History 8 DAYS was held at la B.A.R.N. on Lac Leslie in the Pontiac Region of Quebec, from June 16 – 24, 2012. It was hosted and supported by 10 Gates Dancing Inc. and Public Recordings.

Selection committee: Sara Coffin, Ame Henderson, Tedd Robinson, Stephen Thompson Participants: Justine A. Chambers, Claudia Fancello, Marie Claire Forté, Ame Henderson, Benjamin Kamino, Davida Monk, Tedd Robinson, Stephen Thompson, Michael Trent

8 DAYS II was held at ten fifteen maple and The Dance Centre from August 10-18, 2013. It was hosted by Justine A. Chambers and Public Recordings, and received support from the Canada Council for the Arts, Public Recordings, The Dance Centre and ten fifteen maple.

Selection committee: Martin Bélanger, Justine A. Chambers, Benjamin Kamino, Davida Monk Participants: Naomi Brand, Justine A. Chambers, Karine Denault, Claudia Fancello, Marie Claire Forté, Caroline Gravel, Ame Henderson, Christopher House, Davida Monk, Andrew Tay, Stephen Thompson, Michael Trent, Laurie Young

8 DAYS III – En Francais

PUBLIC RECORDINGS 8 DAYS III : APPEL À PARTICIPANTS | DATE LIMITE : LE 15 JANVIER 2014 UN RASSEMBLEMENT DE CHORÉGRAPHES À ARTSCAPE GIBRALTAR POINT, TORONTO ISLAND 16 au 24 JUIN 2014

8 DAYS est une rencontre intensive ouverte à tous les chorégraphes canadiens. Le rassemblement valorise la curiosité, la prise de risque créative et la réflexion, ainsi qu’une fluidité entre théorie et pratique pour approfondir le travail chorégraphique.

À la suite d’un appel à participants, six artistes canadiens œuvrant ici ou à l’étranger seront invités à se joindre aux participants des deux éditions précédentes de 8 DAYS. Le comité de sélection est composé de trois anciens participants et d’un invité. Jusqu’à 20 artistes se réuniront pour une aventure cocréée à l’écoute du contexte, mise en œuvre par ceux présents et guidée par leurs expériences imbriquées et divergentes. Les participants sont appelés à faire preuve d’ouverture par rapport à la forme et à la nature de l’événement, de volonté de partage et de rigueur dans les échanges intellectuels et artistiques.

Le projet itératif 8 DAYS cible le besoin d’un perfectionnement chorégraphique d’égal à égal au Canada et soutient que la pertinence de la forme d’art en dépend. Ame Henderson et Tedd Robinson mettent le projet sur pied en 2012. Les rencontres subséquentes résultent du désir des participants à poursuivre le travail ensemble. Les codes de la démarche agissent intimement sur l’œuvre. Théorie et pratique, articulation et création, action et réflexion, et les systèmes desquels l’on dépend ou non s’entrecroisent autour du développement créatif. 8 DAYS est une occasion de faire dialoguer les approches pour se provoquer, se revigorer et s’inspirer entre créateurs. 8 DAYS offre une occasion de se soustraire aux impératifs de production afin de se pencher sur sa pratique et d’imaginer – par l’entremise du dialogue et de l’expérimentation – de nouvelles possibilités artistiques.

Chaque participant est responsable de guider ou de planifier une partie du temps commun. Les journées sont principalement structurées autour des repas communs, et peuvent comprendre des périodes de partage et d’échange de méthodes, de présentation formelle, de lecture, de discussion libre, ainsi que des temps de repos et de réflexion personnelle.

Il est impératif que 8 DAYS se mette en rapport avec la communauté élargie. À cette fin, chaque participant doit répondre à l’idée de la documentation et à la nécessité de partager leur expérience. Les participants proposent et créent des réponses particulières à la rencontre pendant ou après sa conclusion. La documentation cosignée sera ensuite diffusée sur une plateforme choisie par les artistes afin de partager le processus et ses résultantes.

Logistique
8 DAYS III se tiendra à Artscape Gibraltar Point à Toronto Island. L’ancienne école offre 35 000 pieds carrés d’espace à usage multiple. Les artistes profitent d’hébergement privé, de grands studios clairs, d’une cuisine partagée, d’une salle de détente, d’un réseau wi-fi gratuit et d’un service de location de vélo. Le terrain idyllique au bord de l’eau donne l’impression d’une escapade dans un chalet, mais est à quinze minutes en traversier du centre- ville de Toronto.
Les artistes arriveront le lundi 16 juin et partiront le mardi 24 juin 2014. Public Recordings a déposé une demande de subvention pour payer le déplacement, l’hébergement et les repas. Les résultats de la demande devraient être connus à la fin mars 2014. Nous encourageons les participants à faire d’autres demandes de financement pour soutenir leur participation.
DATE LIMITE : 15 janvier 2014 Veuillez envoyer une lettre d’intérêt et une biographie récente ainsi que des extraits de votre travail pour contextualiser votre dossier. Dans la lettre, détaillez vos préoccupations chorégraphiques actuelles et précisez en quoi l’événement pourrait enrichir votre pratique. Soyez concis et ciblez vos documents d’appui dans l’optique précise de ce projet.

Nous acceptons les demandes en anglais et en français. Veuillez noter que la langue de travail sera surtout l’anglais.

Veuillez soumettre le dossier par voie électronique. Les documents d’appuis doivent être en pièces jointes ou disponibles en ligne. Le cas échéant, assurez-vous d’inclure les liens et les accès nécessaires pour les visionner. Veuillez noter que nous ne traiterons pas les demandes envoyées par la poste.

Pour plus d’information ou pour soumettre un dossier : eightdays (at) publicrecordings (dot) org
Historique du projet 8 DAYS s’est déroulé à la B.A.R.N. à Lac Leslie dans la région du Pontiac au Québec du 16 au 24 juin 2012. 10 Gates Dancing Inc. et Public Recordings étaient hôtes et partenaires de la rencontre.
Comité de sélection : Sara Coffin, Ame Henderson, Tedd Robinson, Stephen Thompson Participants : Justine A. Chambers, Claudia Fancello, Marie Claire Forté, Ame Henderson, Benjamin Kamino, Davida Monk, Tedd Robinson, Stephen Thompson, Michael Trent

8 DAYS II s’est déroulé à ten fifteen maple et au Dance Centre à Vancouver du 10 au 18 août 2013. Justine A. Chambers et Public Recordings étaient hôtes de la rencontre, et les partenaires étaient le Conseil des Arts du Canada, Public Recordings, ten fifteen maple et le Dance Centre.
Comité de sélection : Martin Bélanger, Justine A. Chambers, Benjamin Kamino, Davida Monk Participants : Naomi Brand, Justine A. Chambers, Karine Denault, Claudia Fancello, Marie Claire Forté, Caroline Gravel, Ame Henderson, Christopher House, Davida Monk, Andrew Tay, Stephen Thompson, Michael Trent, Laurie Young

task force: family dinner #2 – chit chat and low blood sugar

post dinner chat about the scores.

post dinner chat about the scores.

waiting for dinner. low blood sugar hysteria sets in.

waiting for dinner. low blood sugar hysteria sets in.

kate and dave made: rotini with chicken and veg, green salad, strawberries & cream w/ sea salt chocolate.
what we worked on: group generated scores, individual place settings, negation, acceptance, distraction, silent cooking, and how to maintain focus with low blood sugar.

task force

the choreography of preparing and sharing a meal.

first reading – The Sociology of Taste – Jukka Grownow

The historical development of the meal is described by Simmel as a kind of a civilizing process. The social form and the rules of interaction are first transformed into more complicated ones among the higher echelons of society where this can take place to such a degree that the original purpose of the meal, the satisfaction of hunger, can almost totally be forgotten.

The sociability of eating presumes social rules. The necessity of such rules, or at least of a certain regularity of action, follows directly from the chronological regularity of eating but it is greatly increased by the socialization of the meal:

‘With all such changes a formal norm is raised above the changing individual needs, the socialization of the meal elevates it into aesthetic stylization, which in its turn influences back on it; because if, besides the purpose of satisfying needs, eating has to serve also the purpose of aesthetic satisfaction, an excuse is needed and a community of several persons is not only able to take better care of such an excuse, but it also acts much better as its legitimate carrier and performer. (Simmel 1910)

8 Days II – En Francais

PUBLIC RECORDINGS

APPEL À PARTICIPANTS

8 DAYS II

UN RASSEMBLEMENT DE CHORÉGRAPHES À

TEN FIFTEEN MAPLE & THE DANCE CENTRE

10 au 18 AOÛT 2013

 

Une rencontre privilégiée de huit jours invite des chorégraphes canadiens à se pencher sur les notions de pensées et de processus chorégraphiques. Les valeurs de base du regroupement : la curiosité, la prise de risque créative et la réflexion. Une approche fluide aux principes de la théorie et de la pratique favorisera l’approfondissement de la pratique chorégraphique.

 

À la suite d’un appel à tous, six artistes sélectionnés seront invités à se joindre à six des participants de l’édition inaugurale de 8 DAYS. Les douze participants se réuniront pour une aventure cocréée à l’écoute du contexte, mise en œuvre par ceux présents et guidée par leurs expériences connexes de chorégraphes. Nous demandons aux participants de faire preuve d’ouverture par rapport à la forme et à la nature du rassemblement, d’une volonté de partage et de rigueur dans les échanges intellectuels et artistiques.

 

Le projet continu cible le besoin d’un perfectionnement chorégraphique d’égal à égal au Canada ; nous soutenons que la pertinence de notre forme d’art en dépend. Les codes de la pratique agissent intimement sur l’œuvre – théorie et pratique, articulation et création, action et réflexion s’entrecroisent autour du développement créatif. Ici, nous pourrons provoquer et revigorer la question et explorer nos pratiques en dialogue avec d’autres créateurs.

 

Nous suspendrons le quotidien pour un temps. 8 DAYS offre une occasion de se soustraire aux impératifs de production afin de cultiver les idées créatives et d’imaginer de nouvelles méthodes de travail. Le rassemblement offre un lieu pour réfléchir à sa pratique et sonder de nouvelles avenues artistiques par l’entremise du dialogue et de l’expérimentation.

 

Chaque participant sera responsable de guider ou de planifier une partie du temps commun. Chaque jour comportera différents modules organisés par les artistes. Par exemple, une journée pourrait comprendre des périodes de présentation formelle de matériau, du travail en studio et une discussion ouverte, ainsi que des repas en groupe et un temps de réflexion personnel.

 

8 DAYS engagera la communauté élargie grâce à la documentation et à la diffusion de celle-ci. Nous demanderons à chaque participant de répondre à l’idée de la documentation et à la nécessité de partager leur expérience avec les professionnels de danse absents de l’événement. Ainsi, les artistes créeront des propositions réflexives lors de l’événement ou immédiatement après sa conclusion. La documentation cosignée sera ensuite diffusée sur une plateforme choisie par les artistes afin de partager le processus et ses résultantes.

 

Logistique

8 DAYS se tiendra à Ten Fifteen Maple à Vancouver, C.-B.. Situé à Hadden Park, Ten Fifteen Maple est une maison de campagne sur la plage de 850 pieds carrés, qui compte une cuisine complète et deux petits espaces de travail. Entouré de parcs publics et lové entre le Maritime Museum et Kits Beach, le lieu est actuellement partagé entre les artistes Rebecca Bayer, Justine A. Chambers, Josh Hite, Billy Marchenski et Kristen Roos. Leur recherche collective est basée en psychogéographie et en phénoménologie. Pour toute la durée de la rencontre, un grand studio de danse sera disponible au Dance Centre, facilement accessible par aqua bus.

 

Les artistes arriveront le samedi 10 août et partirons le dimanche 18 août. Public Recordings a déposé une demande de subvention pour payer le déplacement, l’hébergement et les repas. Les résultats de la demande devraient être connus en début mars 2013. Nous encourageons les participants à faire d’autres demandes de financement pour soutenir leur participation.

 

DATE LIMITE : 21 janvier 2013

Veuillez envoyer une lettre d’intérêt et une biographie récente ainsi que des extraits de votre travail pour contextualiser votre dossier. Dans la lettre, détaillez vos préoccupations chorégraphiques actuelles et précisez en quoi l’événement pourrait enrichir votre pratique. Soyez concis et ciblez vos documents d’appui dans l’optique précise de cette occasion.

 

Nous acceptons les demandes en anglais et en français. Veuillez noter que l’anglais sera la langue de travail.

 

Veuillez soumettre le dossier par voie électronique. Les documents d’appuis doivent être en pièces jointes ou disponibles en ligne. Le cas échéant, assurez-vous d’inclure les liens et les accès nécessaires pour les visionner. Veuillez noter que nous ne traiterons pas les demandes envoyées par la poste.

 

Pour plus d’information ou pour soumettre un dossier : eightdays (at) publicrecordings (dot) org

 

8 DAYS II – Call for Participants

PUBLIC RECORDINGS

CALL FOR PARTICIPANTS

8 DAYS II

A GATHERING OF CHOREOGRAPHERS AT TEN FIFTEEN MAPLE & THE DANCE CENTRE

AUGUST 10-18, 2013


Held over eight days, 8 DAYS is an intensive encounter for Canadian choreographers. The gathering values curiosity, creative risk-taking and reflection with a fluidity around the notions of theory and practice in order to engender the deepening of choreographic practice.

Selected by open call, six Canadian choreographers from across the country will be invited to join six past participants of the inaugural 8 DAYS. These 12 artists will embark on a co-authored adventure influenced by its surroundings, created by those who are present, and guided by their overlapping experience as choreographers. Participants are asked to arrive with an openness about what this encounter might be, a willingness to expose and share, and a rigour around intellectual and artistic exchange.

The ongoing 8 DAYS project addresses a need for peer-to-peer choreographic development in Canada, insisting that it is a mode that is crucial to the continued relevance of the art form. The question of how we practice is intimately related to what we create – understanding theory and practice, talking and making, doing and reflecting, as interwoven threads of creative development.  Here we can provoke and invigorate this question, and explore our practices in dialogue with other makers.

With everyday realities suspended for a time, 8 DAYS is an opportunity to escape the pressures of production-driven work in order to expand creative ideas and to imagine new ways of working. It creates space to reflect on one’s current practice and to envision – through dialogue and experimentation – new artistic possibilities.

Each participant will be responsible for facilitating and/or planning a portion of the shared time. The days will be divided between different activities, with participants responsible for the organization of modules. A typical day might include blocks for sharing work, studio-based exploration, and/or open discussion as well as shared meals and time for leisure and personal reflection.

The larger community will engage with 8 DAYS through its documentation and the subsequent dissemination of this material. Each participant will be asked to respond to the concept of documentation in order to share the experience with other dance professionals whom have not attended. To this end, each participant will create reflective responses that will be produced during or immediately following the gathering. This co-authored documentation will then be disseminated via a framework determined by the participants in order to share the process and its outcomes.

Logistical Details
8 DAYS will be held at ten fifteen maple in Vancouver, BC. Situated in Hadden Park, ten fifteen maple is an 850 sq. foot, beach-side field house outfitted with a full kitchen and two small work spaces. Surrounded by public parks and nestled between the Maritime Museum and Kits Beach, it is currently the shared studio for artists Rebecca Bayer, Justine A. Chambers, Josh Hite, Billy Marchenski and Kristen Roos whose collective research is rooted in psycho geography and phenomenology. A large dance studio will be available for the duration of the encounter at The Dance Centre, just a short aqua bus ride away.

The participating artists will arrive on Saturday, August 10th, and depart Sunday, August 18th. Public Recordings has applied for funding to cover travel costs, off-site accommodation and meals. Funding results should be known by the beginning of March 2013. Participants are encouraged to seek further funding to support their participation.

DEADLINE: Jan 21, 2013
Please submit a letter of interest and recent biography in addition to any work samples that are relevant to contextualize your application. The letter of interest should detail your current choreographic concerns and address how participation in this encounter might enrich your practice. Please keep your responses brief and select any support material carefully with the aim of addressing this specific opportunity.

Applications can be submitted in English or French. Please note: the working language will be in English.

All materials must be submitted electronically. Support materials must be included as an attachment or available online. Make sure to include all necessary links and access information. Please note, applications sent by mail cannot be processed.

For more information and to apply: eightdays (at) publicrecordings (dot) org

tenfifteen maple

Follow the activities/musings and creations of the artists of tenfifteen maple here:
http://tenfifteenmaple.org

the artists:

rebecca bayer
justine a. chambers
josh hite
billy marchenski
kristen roos

Our projects will collaborate with the Hadden park community on works investigating psychogeographical relationships between local histories and forms of mapping. Through sound, collective recordings, temporary installations, performances, screenings, workshops, conversations and dinners, the projects will be informed by people and their activities within the park.

field house residency

for the next 2 and a bit years josh hite (visual artist), billy marchenski (theatre/movement artist), rebecca bayer (architect/visual artist), kristen roos (sound artist) and i will be in residence at the hadden park field house.

here’s what the vancouver sun extrapolated from a conversation with josh hite:

http://www.vancouversun.com/entertainment/Vancouver+park+board+converts+seven+more+vacant+field+houses/7328260/story.html

the talking, thinking, dancing body

The Talking, Thinking, Dancing Body is a conversation about aesthetics, context and artistic processes. Grounded in the experience of observing dance in both performance and rehearsal, this conversation will be amplified and facilitated by battery opera’s Artistic Director Lee Su-Feh and Vancouver-based dancer, teacher, choreographer Justine Chambers – two opinionated and charismatic artists with a rich and varied dance experience to draw from.

For the logistics go to:

http://www.batteryopera.com/the-talking-thinking-dancing-body/